Kay chen folio2018 march by Kay Chen

COMPUTAIONAL MODELING AND DRAWING PARAMETRIC DESIGN • HAND DRAWING MODELING • FINEART

KAY X. CHEN

UNIVERSITY OF MELBOURNE

KAY XIAOQI CHEN PROFILE

: GRADUATE

ARCHITECTURE

STUDENT

NATIONALITY : AUSTRALIAN

CONTACT

: 0426828598

KAYARCHITECT@GMAIL.COM

Personal Statement

Working Experience

Architecture

Handscketh / diagram / computational drawing & modeling / render / physical model

Urban Design

117

Interior Design

123

Artwork

Illustation / Oil Painting / Arcrylic Painting / Sketch

A highly passionate graduate of the University of Melbourne, currently seeking to resume my professional career as a graduate architect after a year out to explore interest and vision. Completed diplomas and degrees in Fine Art, Built Environment, Interior, and Parametric Designs. Found enthusiasm in Architecture Design after a year of working experience in AECOM China as an Assistant Architect, and have decided to complete a Master Degree in Architecture to further pursue a career as an architect. Having undertaken studies and working opportunities in the relevant industries to architecture in both Australia and China, I have developed a scope of different scale of design. Along with practicing visual art over the years, I am skilled in expressing design ideas aesthetically through an integration of hand sketches and computational drawings. Hoping to find my new start in a role in an innovative and exciting company where I can realize a lifetime ambition.

DESIGN

2001-2005

Guangzhou Academy of Fine Arts High School Graduation Certificate

80%

Rhinoceros

75%

Grasshopper

30%

Python

2011

70%

V-ray

University of New South Wales

70%

Revit

Master of Planning

80%

Sketch Up

(deferred after 1 semester with results)

80% Autodesk Autocad 70% Adobe Photoshop 80%

Adobe Indesign

Guangzhou University

70%

Adobe Illustator

Bachelor of Interior and Environment Design

60%

3DMAX

80%

Microsoft Office

2005-2009

2012

University of Hong Kong

80% Machintosh IWork 70%

Sculpture Making

Certificate of Completion -Digital Practice (Parametric Design)

VISUAL ART & MUSIC 2010-2011

90%

Drawing

University of New South Wales

90%

Painting

Master of Design (Environment) 2013-2016

75%

Photography

85%

Flute

60%

Piano

University of Melbourne Master of Architecture

ENGLISH PROFESSIONAL WORKING PROFESSIONCY

MANDARIN NATIVE

CANTONESE NATIVE

JAPANESE LIMITED WORKING PROFICINCY

ARCHITECTURE RELATED INTERIOR / LANDSCAPE 10

Freelance Designer / Artist

Oct 2012+Current

China / Australia

• Look for Projects • Communicate with clients and write fee proposals • Management of the design team • Lead a team of young graduate architects, landscape designer, and interior designer working on private and public projects.

Intern Interior Designer

Sep-Nov 2011

MIRVAC, Sydney, Australia

• Helped senior designer with material and furniture selection • Arranged abundant sample boards for several residential projects in Sydney and Melbourne. • Chemical testing of various construction materials • Graphic presentation • Interior spatial planning • Worked on interior finishing list

Lecturer for Rhinoceros Courses

Feb 2015

Assistant Architect

Mar 2012-Jan 2013

GLC Enterprises,LLC Ltd, Guangzhou, China

AECOM, Shenzhen, China

• Give Rhinoceros modelling lessons to local architects, including plugins (e.g. Panelling Tools, Grasshopper) • Help architects solve technical issues of using the software

• Come up with design concepts by using Rhino, AutoCAD, SketchUp, Photoshop and Indesign • Oral and visual presentation to senior architects and directors on various projects These projects ranged from high rise office towers, commercial shopping centres, residential and participated in the Shanghai Airport competition with high recognition within AECOM etc. Our team won the competition for the design of the head-quarter of a famous Chinese drug company Nepstar and a residential project Honghe. These two projects are under construction.

Intern Landscape Architect

Nov 2010-Jan 2011

Intern Interior Designer

2005-2009

PB Landscape, Guangzhou, China

Pearl River Construction and Decoration, Ltd. China

• Participated landscape project for an Aloft Hotel project and two local residential/ hotel projects • Hand drawing for landscape design presentations

• Hand sketches for concept design • Drafting for CAD detailed drawings and Melbourne. • Material selection

The boosting growth of tourism raises the popularity of Lorne, and decreases accessibility to affordability property. Shortage of rental and affordable accommodation results in that many working young families chose to move out of Lorne to live, except for the summer period. Constrained by its hilly topography, and location within high risk bushfire zone, CFA requirements are highly restricted. Neighbourhood character assures Lorne to be a prestigious nature retreat. The building typology fails if not respect the bushy nature environment and existing neighborhood.

LORNE DEVELOPMENT

Coexistence of Contradictions The sensitive nature and bushy context in Lorne brings dilemmas in conserving and changing. A livable space built within an “unlivable” environment threatened by bushfire requires a balance in landscape and dwellings. This thesis interrogates the disintegration of medium density concrete apartment within a low density bushy coastal city. Through the architectural regime of “minimize the footprints” and “erasing the architecture” in nature. The emphasis on spatial networking is realized in regards to different level of privacy. The concept of a Hidden Retreat generates a sense of enjoyable living space transferable between private units and community space.

MASTER THESIS PROJECT UNIVERSITY OF MELBOURNE

CLIENT LORNE COUNCIL

PROJECT PROPOSED RESIDENTIAL DEVELOPMENT IN LORNE

ADDRESS 10 Erskine Ave, Lorne VIC 3232

FORMS AND MATERIALITY: DESIGN FOR COMPELLING SITUATIONS AND CIRCUMSTANCES

1. Living Room Perspective 2. Apartment Building Perspective 3. Ideagram

RESEARCH HIGHLIGHTS As Lorne is embraced by extrodinary nature environment and its easy assesibility , it is a very popular holiday retreat for short stay. A significant unoccupancy is noticible except for summer holiday period, and the predominary type of dwelling is a 3-bedroom house. An increasing number of young couple with 2 kids or less are in a require of smaller scale of affordable housing.

PROJECT TYPE : RESIDENTIAL

LORNE

TREE REMOVAL

BAL FZ <19M distance from predominat

A HIDDEN LOCATION Characteristic: • sandstone quarry of rough surface • steep terrain • inner location from Otway St. • uphill location to vegetation mass • surrounding by oak trees • woodland landscape • sunken area collecting water

BUILDING BULK / SITE COVERAGE

BUILDING SETBACKS

• Small footprints and scale • Recessive building scale/bulk • The area of a lot coverd by buildings should not exceed 35%. • The plot ratio of a building should not exceed 0.5.

• Large street setbacks that allow screening vegetation -- Minimum setback from front street 9m • Setbacks from boundaries that allow space around and between

PLANNING CONTROL • Buildings that sit below the tree canopy • Maximum building height should not exceed 7.5m

STYLE • Older ‘beach house’ and ‘fisherman’s cottage’ style buildings • Maintenance of existing heritage places • Modern architecturally designed buildings that incorporate elements of traditional buildings, such as simple forms, with good articulation, and a lightweight appearance • Peaked, sloping or curved roofs, especially with projecting eaves

• Mimicing the roughand layering texture of the rock surface, merging the form of architecture and the quarry

• Retainning landscape by minimizing the presence of the building profile ,from the perspective of GOR.

• Dwelling and communal space grid variation

• House type configuration in section

ECO ENERGY SAVING DIAGRAM • The north facing rockface as a thermal mass restores heat during the day and release heat at night. • A communal atrium allows light and air go through. • Single layer of aprtments enables cross ventilation. • Living area pushed from the concaved quarry to the front which has more exposure to nature light.

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GRIDSHELL

The reconstruction of the basketball court in the Peakhurst High School in western Sydney, NSW proposed a steel structure gridshell roof inspired by the Islamic Art Department Louvre. By replacing the old and craked â&#x20AC;&#x2DC;Binshellâ&#x20AC;&#x2122; dome constructed in the 1960s, the new building is relocated to the south-east court among block A, B, F and the carpark. This freeform shell structure is lowered at the edge, as the minimisation of the building height avoids disrupting sunlights into surrounding buildings, while the roof centre above the sunken internal space is elevated to meet the required height of the play area. The light steel structure with mesh panel cladding minimised the direct sunlight into the basketball court, while the gym and leisure area placed on ground level get natural lighting through glazed facades.

STUDIO PROJECT UNIVERSITY OF MELBOURNE

PROJECT PROPOSED STADIUM FOR PEAKHURSE HIGH SCHOOL

ADDRESS Rona St, Peakhurst NSW 2210 1

1. Aerial Perspective 2. Interior Perspective 3. Location Diagram

The multi-functioned sports centre featured a two-level space. Reception, shop, cafe, fitness and gym placed on the edge of the building on the ground level, which left a void for a clear space above the basketball court on the lower ground level. To the east of basketball court is a stage with stage control room and storage on each side.

PROJECT TYPE : STADIUM

SYDNEY

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INTERIOR ISOMETRIC

The construction of this grid shell starts from a flat, two-dimensional irregular pattern net; the three-dimensional shell type structure is then achieved by projecting the pattern onto a double curvature freeform surface. The structural is consist of steel beams which benefits the large span glass and mesh grid shell, since steel has a much higher yielding strength compared to wood, and it is able to carry the glass cladding. The large span steel structure is held by the steel edge beams, which slightly touch the ground on three areas. To maximise the stability of the structure, four slim steel columns connect the roof to the lower ground. The columns are tilted to leave clear space for the area above the play area.

[FEM ANALYSIS] BEAM MATERIAL GENERAL BEAM: STEEL S275 HEIGHT 12CM FLANGE WIDTH 5CM EDGE BEAM :STEEL S275 HEIGHT 30CM FLANGE WIDTH 20CM MAXIMUM DISPLACEMENT 1.64CM ELASTIC ENERGY 2.79KN.M

LOADS -1 GRAVITY -1KN POINT LOAD SUPPORT EDGE BEAM 4 COLUMNS 4 MAXIMUM DISPLACEMENT 1.64CM ELASTIC ENERGY 2.79KN.M[FEM ANALYSIS]

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A tower with facade resposes to the environment, designed according to sun path, created passive shading by the resulted facade. Openings in the buidling minimize the structural loads and improved air quality for surrounding buildings, based on wind tunnel effect.

COMUTATIONAL HABITATS

The design process engaged with parametric design by using Rhinocereos and Grasshopper, and will be tested by other plug-ins or Rhinocereos. The parametric design allows the possibility of operable facade opeions that enables nature vantilation. The design of the plaza as a solution to increase open space for the local communities and complements the tower.

CLIENT AUGA TRAVEL SERVICES PTY LTD

PROJECT PROPOSED OFFICE FITOUT FOR GUANGDONG/ GUANGZHOU TOURISM ADMINISTRATION SYDNEY BRANCH OFFICE

ADDRESS SUITE 57&58, LEVEL 15 99 BATHURST STREET SYDNEY NSW 2000

AREA APROX. 82SmÂ˛ 2

1. Display Room Perspective 2. Entrance Perspective 3. Display Room Perspective

Computational strategies have become established drivers of design innovation. An inherent process of algorithmic design is the decomposition of a problem into subproblems which may be tackled within a framework. Computational Habitats will take this approach to its brief, and will look at site analysis as a problem generator. Students will be asked to identify, analyse, and decompose the major issues of the site

and brief, and to use the resulting framework to guide creation of their own digital tools and workflow to find unique solutions for the design problem and create innovative responses. Computational Habitats will examine a mixed-use development on a signifi cant Collins Street site that incorporates historical overlay and multiple levels of public interaction. Students will each undertake the

design of a building from initial concept to the production of a well-defi ned built environment. Computational methods such as structural, environmental, and building performance analysis, form finding, and optimisation will play pivotal roles in understanding current theory and practice of digital architecture.

PROJECT TYPE : COMMERCIAL COMPLEX

MELBOURNE

The design of the plaza as a solution to increase open space for the local communities and complements the tower. As Dockland 2020 Community and Place Planning suggets. more green and/or open space is going to be provided through the future deveopment, further more, some of the important community infrustructure

project need to be delivered.By relocating the goods shed, limited open area and blocked connection by the existing goods shed will be solved. The precentage of open space is increased by 1.9%. The goods shed considered as a heritage building that represents a markstone of Melbourneâ&#x20AC;&#x2122;s financial development in industrial era, so it is worthy to be reserved. In order to preserve the building, this design is to shuken the building to 12m below ground level. Similar to the Sydney Customers House and a few other heritage site preservation precedents, the goods shed is redesigned to be a underground space surrounded by pedestrian path. So the goods shed can be

appreciated in a similar way as now. Since the plaza is made with semni transparent and transparent material, the goods shed is allowed to be admired from above. As the plaza opened, the large open area is delivered and the discontiniuity is solved. The function area required are distributed into the tower and the goods shed. As the tower is for office and recreation use, retail, restaurant and the architectural studio are allovated in the goods shed, while car park is under the bridge and beneath the goods shed.

To reflectthe character of the goods shed onto the design of the tower, the 9 outlines of the roof are extracted and used to slice the tower envelope into 8 pieces. Then the slices will be shifted in and out within a range, and then the facade is divided vertically by 9 again and results in these control points. These control points are drifted by sun attractor and creates the weavy facade that provides passive shading. The model will be distributed by Grasshopper and Kangaroo based on the outline geometry of the site in Rhino.

More exploration into the tower design is that some openings are made to enable the wind tunnel effect benefit the area behind the tower and reduce the structural load of the tower itself. Moreover, some facades are operable to enable nature vatinlation.

The building where designed with openings will become a elevated skyhallway as a connection to both sides. The main entrance locates on the upper ground floor on Collins St level and the two other entrances are at the plaza level. The tower is accoplished by the grand plaza of which the division pattern is projected from the tower.

Colour Gradient Facade Facade tinted glazing extract the tessellated photograph of its surrounding.

Goods Shed Form Finding The principle of generating the form is similar to the ones for the major building. The large span roof is supported by five columns that connected to the web truss.

MARINE WILDLIFE PARK AND RESORT

The project is a self-power supplied aquarium floating at Point Lonsdale. Tiday buoy as the Zero-emission clean alternative energy harness wave power under the water. The electric turbines stored inside the building is driven by high-pressure hydraulics.

STUDIO PROJECT UNIVERSITY OF MELBOURNE

PROJECT PROPOSED FLOATING COMPLEX

ADDRESS POINT LONSDALE

1. Display Room Perspective 2. Entrance Perspective 3. Display Room Perspective 2

The buoy attached to an individual building unit is a CETO-5, which is anchored into the sea floor, The size of it is 11 meters diameter, generates 240kw that powers 170 domestic houses in a year.

The building is anchored into the sea floor by wires to avoid too much motion affected by the wave.

Location of the site avoids the prohibited zone for anchorage. The site also meets the water depth requirement(25m) for buoy installation.

PROJECT TYPE : RESORT

VICTORIA, AUSTRALIA

Impact: Traffic: Increase need of public transportation, and higher accessibility to local residence Social: The Marine Wildlife Park and Resort provides a shelter for marine life and tourists, and boosts the local economic. Provide dynamic atmosphere through outdoor and indoor water activities to local life. Tourism: Bring in people to the attraction and benefit the local industies in greater Geelong.

Site Location The site is located at Point Longsdale, 1200ms south east to Sorrento Vehicular Ferry Station, accessed by ferry between Queenscliff and Sorrento.

PLAZA PERSPECTIVE RENDER The concept is derived form bubbles, a lively emerging form results from the pressure within the water movement. Bubbles are colourful and the individual shape is unique. By engaging the overall space arrangement into the actual form, space are divided as required. The individual bubbles are linked by vertical and horizontal tubes. Some bubbles were taken away to allow sun come into the center of the building. The hollow part of the entirety becomes the open atrium where an open theatre locates. The facades were treated differently , as the translucent ETFE is only above water for indoor exhibition. The dard blue glass is for the hotel units, including waterproofed underwater hotel rooms. Other facades are made of solid aluminum for indoor activities do not need nature lights.

As the overall form of each bubble is different, each floor plates are different and forms an interesting space .The larger space are for bigger scale of exhibition, sea tunnels and theatre, while the smaller space is for the individual tanks. On the arriving floor (shown in the plan above), there are two extendable decks for landing, they locates adjacent to the hotel reception and

general information center. The blue areas in the plans are for exhibitions, the dark brown ones are service areas, and the beige ones are hotel rooms.

The glass tubes are waterproofed which made of 200mm reinforced glass. The vertical tubes contains either spiral staircase or elevators, All the bubble units are waterproofed. Besides the ones made of ETFE, other space has facade that strong enough to against the damage of wave, and becomes the individual floating units once disaster comes. The structure inside each bubbles are conventional steel structure of floor plates and coloumns. Branches of the columns support the irregular shape roofs. The floor heights for exhibition space is 6 meters while the ones for hotel rooms and general service area is 3 meters.

APPLIED CONSTRUCTION

DESIGN DEVELOPMENT PROPOSAL WITH KEY ENVELOPE DETAILS

FOR A FREE-STANDING TALL OFFICE BUILDING LOCATED IN A HYPOTHETICAL SITE IN MELBOURNE CBD

The stacking strategy and the overall design are highly influenced by the initial analytical design of the core layout. Our first approach to design the floor plates was designing the core. After firstly selected the “Lambo” service core from the three op2tions, we arranged the lift groups by shifting the service space in the core in four sections of the building: lobby floor, low-rise floor, mid-rise floor, high-rise floor and sky-rise floor. After we analysed and determined the core. We began to explore the parameters of the floor plates with the core re-arranged, split or increased in dimensions- refer diagram 1.1. 1. Display Room Perspective 2. Entrance Perspective 3. Display Room Perspective

We stick with a uniform core from ground to top from the beginning 3as we knew that it is the easiest way to ache ice the requite Gross Floor Area(GFA), Net Lettable Area (NLA) and accomplishing the Floor pate efficiencies of at least 75% as using the original square 45 metreX 45 metre template. However we play around the form of the floor plates so that we can get more intelligent configuration regarding the functional aspect of the space.

Considering the functional aspect of this office tower, we took the 30th, St Mary Ave tower by Norman Froster as an reference, which has a centralised core and its atrium between the radiating fingers of each floor link vertically to form a series of informal break-out space that spiral up the building create social space as the building’s ‘lungs’ by having floor plates. In our tower, with floor plates have openings, we are keeping the leasing depth in at least 10.5 metre at where there is an opening, whilst at other place the leasing depth is 13.5 metre. In that case, we ensure it was still similar in areas to the original square and within the recommended design parameters- refer diagram 1.2.

PROJECT TYPE : HIGH RISE COMMERCIAL

MELBOURNE

We then decided to create a series of dynamic atrium space by 2 distinct floor plate types, Type A is 4500mm*4500mm square floor plates with a various number (from one to four) of trapezoid cut-outs, the trapezoid which consists of 45ยบ and 135ยบ that fits into the 1500mm building module, while Type B is a complete 4500mm*4500mm square floor plate. A variation in the form of floor plates appears in the displacement

of the trapezoids. The displacement is half random. Besides the floor and ceiling of the ground floor and each mechanical floor are Type A, there is a Type A in every 3 floors. Other than that, within the selection of Type A it is totally random, so that the form of every atrium is non repeatable.

Conceptually we developed the stacking idea base on the 30 St Mary Ave project. To support the horizontal elements, we proposed the the vertical structural core and outer diagonally braced structure with spacing which is multiple of the building module, which allow column-free floor space and a fully glazed facade, and it opens up the building to light and views. The other parameter we engaged here is depth of the diagonal structural frame which is 800mm. As the uniform service core only occupies 21 X 21 metres, and the column-free internal space achieve by the outer structure, the cut out form

of the floor plates dose not causing much lost of floor efficiency -refer diagram 1.3. So that we still achieving an overall 87.1% efficiency that the total NLA is 76414 sqm while the total GFA is 87696 sqm. To be more specific, other than the trapezoid cut outs, the changes of the lift groups becomes the most influential factor regarding the efficiency percentage. The chosen 4.15 meters floor to floor height for normal floors, while the mechanical floors and lobby were set as double floor height which is 8.3 meters. So that the lower floor lever have the smallest GFA which is 1854 sam but still maintain a high

efficiency value of as 78.7%. As the reduction of lift groups as going up from the low rise floors to sky rise floors, the resulting efficiency is increasing, as it is 81.4% on the medium rise level, 86.2% on the high rise level and 90.9% on the sky rise level. The envelope of the tower is divided into four parts, and using louvers system as breaks for the mechanical levels to differentiate the for different zones of the tower: the lower zone, the mid-rise zone, the highrise zone, and the sky-rise zone. As the overall layout of the floor plates of the whole building is unified as 4500mm X4500mm square shapes with solid corners and series of trapezoid set back from the envelope of the occupied zone of the tower. Louvers system is employed as the envelope for the mechanical floor serving both functional and aesthetic purpose.

Design Development The envelope is initially developed as a uniform and geometrical shape at the beginning. It is then divided into three different occupied zones and using the mechanical floor as visual divisions. By adding the photovoltaic elements onto the facade, the facade system became double facade refer to the RMIT Design Hub building with a simple glazed inner facade and a operable outer facade. The intention of going with a simple glazing on the inner level is for a clean aesthetic view and allows massive perspective from inside out, for the outer operable photovoltaic system that installed onto the diagonal bracing structure is to create sunshade and restore energy from the sun, and also strongly influence the aesthetic value of the buildingâ&#x20AC;&#x2122;s appearance.

Photovoltaic Sunshades

Materiality

The operable photovoltaic unit consist of 7 photovoltaic panels that connected together by a axis and opens as the way of blossom. Six panels are operable while the one in the middle is fixed. When the sun heats the facade and the heat detected by the sensor, the photovoltaic “paddles” opened, and functions as sunshade as well as energy restoration. Under cloudy circumstance, the “paddles” hide behind the fixed panel in the middle. Refer diagram 3. These units are placed randomly onto the hexagonal structure which stick onto the diagonal bracing structure. The coverage percentage of the photovoltaic sunshades on every facades are different. While west and north side are under longer hours of sunshine，it was 80% covered by the photovoltaic units. Eastern facade is 60% covered and southern facade has the lowest coverage percentage at 40% as they are under shorter duration of sunshine, refer Diagram 4.

The inner facade is fully glazed with double glazing while he metal components of the envelope are predominately steel and aluminium. As both virgin aluminium and steel have very high embodied energies, recycled steel and aluminium are used instead. The incorporation of recycled material in the building will significantly reduce its carbon footprints. The outer facade is consist of photovoltaic panels while the supporting structure is in aluminium as it is lighter to be easier hold to the diagonal bracing frame, all the small components for installation are in stainless steel.

Glazing Units For the inner facade, the fully glazed envelope will maximise the visibility of the building as well as the use of natural sunlight. The facade of the ground floor lobby will partially set back by using the enlarge trapezoid as the one on the Type A floor plate and form the four entrances. By putting for trapezoid on the group floor plan, the main entrance is placed on the south side with one rotating door and two sliding door on both side of the rotating door, the second and third entrances with sliding doors are placed on the east and the north, at where two trapezoid meet on the east northern corner of the ground floor that enable a space for a deck to dwell a cafe/restaurant, and the fourth entrance with sliding door is located on the west side. Stainless steels fins are employed on the ex-

terior and glass fins are employed on the interior of the ground floor to give structure stability to the facade as well as being a clean architectural appearance that expresses modularity of the facade system. The inner envelope will employ the unitised system for the ease of construction. The facade will be prefabricated in factory and to be shipped to the site for installation. This will speed up the installation process and it is the preferable method for high rise tower. The glazing unit of the facade will be divided into modules of 1500mm wide and 3200 in height, as the floor to floor height is 4150mm while the height of the floor plate is 950mm. Clear double glazing panels are used to avoid excessive heat gain in the interior of the building, and vented and drained cavity are

in place between two layers of glazing. Similar to the RMIT Design Hub, a 675mm cat walkway for facade maintenance is installed between the diagonal bracing structure and the inner facade, it is covered by aluminium sheets with 2mm thickness.

Louver System

Water and Vapour Proofing

Thermal

The intention for louver system is to reduce wind load of the tower as well as serving an aesthetic purpose. The louver system is employed for all four of the facade of the mechanical floors in the tower. Functionally it allow the cooling to the machineries in the mechanical floor, and it also functions as a fire buffer for the envelope of the tower that stops fire spreading between glazing units. The angled louvre blades will minimise visibility of the interior of the mechanical floor from external perspective. The louvre blades are in the modules size of 1500mm in width, while they are affixed to steel posts with steel angels. Bird mesh is in placed behind the louvre blades to prevent insects from entering into the interior and debris blocking the louvres.

In order to prevent water entering from the exterior and condensation sweeping into the structure, we employed damp proof membranes which are placed in the parapets. The steel capping on the parapet also prevent structural components from water damage. Further more, silicon sealants is installed to prevent leakage from joineries. For drainage, slopped floor is employed on the roof of the building.

The framing of the glazing, the cat walkway and the diagonal bracing structure as week as the hexagonal framing structure for supporting those photovoltaic panels employ aluminium as material. However due to the high heat conductivity of aluminium, the framing components are designed to be thermally broken . This will significantly improve the thermal performance of the building and hence reduce the cost and energy consumption for cooling and heating the interior. The opened hexagon photovoltaic units provides sunshade that cool down the interior of the building as well. Besides that, 140mm thermal insulation is placed above ceiling of each floor.

Created by 33 students and 2 lecturers. Onyx is a physical birthchild of data input and user interaction; a frankenstein monster of the digital and physical. It feeds off our digital inputs in return, it gives us various forms of digital and physical response. Our interaction with Onyx keeps it alive.

ONYX - AN INTERACTIVE CREATURE

The subject Tectonic Grounds aims at a hands-on exploration of spatial and creative processes of architectural design. Through the exercise of digital fabrication techniques, physical computing (e.g. Adruino and Firefly) and rapid prototyping (laser-cut and 3D printing) to create a 1:1 scale interactive module. â&#x20AC;&#x2039;

TECTONIC GROUNDS UNIVERSITY OF MELBOURNE

PROJECT INTERACTIVE DESIGN INSTALLATION

ADDRESS DULUX GALLERY, MSD UNIVERSITY OF MELBOURNE

reference: https://www.youtube.com/ watch?v=z6W_RPiv9-0 https://issuu.com/udmk/docs/tectonic_ grounds_book

1 2

1. Display Room Perspective 2. Entrance Perspective 3. Display Room Perspective

A. The Interaction Logic How Onyx feeds on and responds to different stimulation from visitors.

PROJECT TYPE : INTERACTIVE INSTALLATION

MELBOURNE

1. The Interaction Logic Onyx is consists of multiple cells and complex organism that sustain its life. The tubs connect it to the physical world. Radiosensitive receptor response to phone calls or text messages, and photosensitive receptors that will retract and expand while sensing direct light resource.

2. The Form Generation Light intensity analysis using Arduino and the light sensor was commenced for investigating the exhibition space, located within South Dulux Gallery. The translated data generates Onyxâ&#x20AC;&#x2122;s composition.

3. The Modular Structure Black polyphropylene is the major material for Onyxâ&#x20AC;&#x2DC;s pods. Each cell is formed by connecting multiple triangular segments with rivets. The form is designed to bare loads with consideration of itâ&#x20AC;&#x2122;s material properties.

4. The Spidron Panel

Spidron is a continuous flat geometric figure composed entirely of triangles, where, for every pair of joining triangles, each has a leg of the other as one of its legs, and neither has any point inside the interior of the other. If it is drawn on paper, cut out in a single piece, and folded along a number of legs, a Spidron can be easily deformed into a three-dimensional figure.

This deformability makes the development of a great variety of spatial and mobile applications possible, and such developments are suitable for making folding building structures that perform aesthetic and practical functions. The deforming Spidron system, a poetic and repetitive motion, provides an excellent solution for the responsive mechanism in â&#x20AC;&#x2DC;Onyxâ&#x20AC;&#x2122;. â&#x20AC;&#x2039; The material used for the panel needs to be resilient and strong to withstand the constant folding, while be light at the same time to be powered by 1 small servo. Different patterns are applied to help a smoother folding, twisting motion and a better reflection of LED light.

5. The Movement Mechanism Different systems to operate and control the expand-and-contract motion of the panel are experimented. The final solution with a rotary motion follows the geometry the best and is proved to be most efficient and elegant.

6. The Pulse and Tubes Liquid flows in the tube represents the constant conversation exchange on the web page online chat box (the global feed).

7. The LED Lights Slits are added to the modules for better aesthetics. The LED lights mounted onto the pods respond to the global feed and while those mounted onto the panels respond to local feed.

The tensile structure canopy shelters the north west facing, 2-story house as a free standing sculpture. It is consisted of a DNA structure form of vertical supporting structure, a hanging system and the shading membrane. The form of membrane is determined by the maximum level of radiation on itself, from 2pm-5pm, proved by the Melbourne local weather data. The memberane material features a translucent elastic fabric with reflective matalic patterns.

DROP - SUN SHELTER

The upper hanging wires pull the ring from the hignest and lowest point in xyplane normal, while the lower wires pulls the ring form the two other quarter points of the ring.

DIGITAL PRACTICE UNIVERSITY OF MELBOURNE

PROJECT SUNSHADE

1. Perspective (1st Floor Terrace) 2. Perspective 3. Plans

PLAN 1:200 @A1 85

ELEVATION 1:200 @ A1

SECTION AAâ&#x20AC;&#x2122; @A1

PROJECT TYPE : SUN SHADE

MELBOURNE

SUN PATH ANALYSIS (LADYBUG)

ANAUALLY COMFORT PERCENTAGE ANALYSIS (LADYBUG)

ANAUALLY TEMPERATURE ANALYSIS

SHADING ANALYSIS

STRUCTURE CONCEPT DRAFT

STRUCTURE MODEL DETAIL

FORMFINDING (KANGAROO)

RADIATION OPTIMIZATION (GECO)

INITIAL CONCEPT DRAFT

PHYSICAL MODEL (SECTIONAL)

PORTABLE HOUSE

A self sufficient green community meets the demands of the aged. Seniors enjoy their etired life with encourages gardening. The harvest serves their life, and can also be stored for disaster needs. It is an environmental friendly community and also a movable and portable disaster relief housing. Each individual unit is portable and towable with by the standard car.

UNSW POSTGRADUATE PROJECT 2011 SHELTER, RESIDENTIAL

ADDRESS CENTENNIAL PARK, SYDNEY

AREA 10000 mÂ˛

1. Master Plan 2. Aerial Perspective 3. Modular House Perspective 3

The concept for a green and sustainable portable housing came from environmental and social needs. Emigration has been on the rise in recent years and the issue of environmental sustainability has been ever more critical with increasing years. This housing is mainly targeted towards the aged population. Garden plantation is popular with the aged and not only does it provide opportunities for light physical activity but

also provides food for itâ&#x20AC;&#x2122;s inhabitants and also can be traded at a market. The interior is a self enclosed rectangular box planned out like a studio with its own bathroom, kitchen study and bedroom. There is a pathway which acts as a transistion space between the inside and outside and the easily self constructed wooden frame encircling provides passive lighting and reduced heat transmission.

PROJECT TYPE : SHELTER, RESIDENTIAL

SYDNEY, AUSTRALIA

1. Structrual Diagram 2. Interior Section Perspective 3. Physical Model 4. Interior Perspective 2

5. Handsketches

BARREL PAVILION

The workshop aimed to teach students practical digital design skills with a pavilion project consist of industrial waste material. In the workshop of 12 students, a bunch of blue barrels as building blocks to be connected to make the structure that relevant to the local contxt. There are two proposals for the pavilion, first is a complex fish tank which helps children get to know about marine creatures. As some of the barrels contains sea creatures while others serves as information boards. The second design is a sunshade shelter of which the shape and volume are changeable.

DIGITAL PRACTICE SUMMER WORK SHOP UNIVERSITY OF HONGKONG

PAVILION MADE FROM WASTED MATERIAL

LOCATION HONGKONG

1. Fishtank Perspective 2. Fishtank Perspective 3. Design Iteration

Barrel as the building module is disassembled and rebuilt. During the early design stage, a various connection was tested using cylinder objects such as paper cups.

PROJECT TYPE : PAVILION

HONGKONG

cut

turn

connect

1. Pavilion Perspective 2. Form Finding 3. Shading Study

Main material :blue barrel Other materials: stick,cable,glue

1 1. Form Finding 2. Physical Modelling 3. Parametric Design Study

The diagram on the opposite page defines how a cylinder is divided and altered into a unit of three connected rings. The overall form is in association with the dimension of the site.

Before commencing the pavilion project, a couple of parametric modelling exercises helped to explore the possibility of form-finding in Grasshopper and get familiar with pesudocode.

(UNDERCONSTRUCTION)

NEPSTAR DRUGSTORE HQ 96

Mixed use complex March 2012 The design concept is based on images of mining with horizontal lines of sun shading fins to reflect different layers of sediments. The fins flow like a ribbon and are designed strategically on the faรงade to maximize energy efficiency. This project provided a challenge and proved as an opportunity to utilize functional organization due to the large area that was meant for public use. The organization of commercial space was challenging in that it needed to allow free movement across the site to surrounding plots. Designed the straight 28 story (150 m), tower combined flexible office space with retail and dining facilities. The development showed a spectacular landscape and open space at the base of the modern building, which covered nearly half an acre and is of a scale unprecedented in the Shenzhen area that has no landmark yet (which is advantageous for this, not so high tower). This high-rise building presented the urban infill project a modern addition to the community. The mixeduse building comprises skirt building retail in addition to office and commercial support facilities, as well as underground parking levels. The facade on the office area provides green gaps, as an attractor for floor to ceiling windows and openplan layouts.

CLIENT NEPSTAR DRUGSTORE PTY LTD DESIGN WITH AECOM CHINA PROJECT 2012 HIGH-RISE OFFICE BUILDING ADDRESS NANSHAN DISTRICT SHENZHEN, CHINA

AREA APROX. 4000 mÂ²

1. Master Plan 2. Perspective 3. Perspective from Podium Entrance

PROJECT TYPE : COMMERCIAL COMPLEX

CHINA

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(UNDERCONSTRUCTION)

HONGHE URBAN DESIGN

Consigned by Honghe, Co. Ltd, AECOM Shenzhen commences urban design for the new development of Dayun South District. The planning focus on the centre of the district which located on both sides of Longxing Road. Seven blocks belong to Honghe company had received land sales contract. This proposal consists of overall urban planning analysis, regulation study and urban design proposal for the seven blocks.

CLIENT HONGHE CO. LTD

DESIGN WITH AECOM CHINA

PROJECT 2012 COMMERCIAL COMPLEX /URBAN DESIGN

ADDRESS DAYUN DOUTH DISTRICT

Cross-platform platforms and underground walkways form a three-dimensional pedestrian system across Shenhui Road. Cross-platform platforms seamlessly connect with the LRT Grand Canal Station, while underground walkways connect with No. 12 and No. 14 subway stations. Simultaneously, it is directly the starting point of the ground light rail of the Grand Canal New Town. The cross-street platform provides a

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PROJECT TYPE : URBAN DESIGN

precious open space at the heart of the city. It is a square that is not disrupted by traffic. Covered with shades of greenery, and surrounded by beautiful commercial buildings, the area attracts the stream of people. It is filled with vitality for 24 hours. The two-story platform and the underground walk show a completely different rhythm, embodying leisure and efficiency. SHENZHEN, CHINA

Site Contect

Conditions Around the Site

Dragon City Portal

The site is adjacent to a bloomy mountain, Da Yun Park, and a largescale, high-quality residential area. The local government planned to bring a large population in the future.

The design based on the understanding of the overall planning of Shenzhen and related documents for the entire Longgang area. Through analysis of the economy and industry, drawing lessons from successful cases in the world, and thinking in depth.

The Chinese University of Hong Kong Shenzhen Campus under construction and Shenzhen Information Vocational College are close to the site.

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The districtâ&#x20AC;&#x2122;s superior natural conditions and transportation hub po-

sition the region as a set: exhibition sports, Cultural and educational, living and leisure, commercial business, creative IT, one of the most attractive Universiade Nancheng centre.

Functional Arrangment

Site Base

Cross Street Platform Approximately 20000sqm of crossstreet platforms located in the core area of the district, along the Longxing Avenue. The project considers nature illumination while arranging green landscapes, shades and shelters, as well as other public facilities. In the middle of the cross street platform, a plaza of about 5000 sqm pro-

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The concept of cross-street commercial area has emerged with the cross-platform platform, which extends the business activity from indoor to outdoor and provides more vertical traffic to the subway. When an efficient transportation system integrates rich business conditions, the vitality of the city is realised. As a result, the value of the district was finally raised. vides an open attraction for parking and business activities. Through increasing opening rates on the footbridge, underneath the platform, the ventilation conditions improved and provide more sheltered public space.Approximately 20000sqm of cross-street platforms located in the core area of the district, along the Longxing Avenue. The project considers nature illumination while arranging green landscapes, shades and shelters, as well as other public facilities. In the middle of the cross street platform, a plaza of about 5000 sqm provides an open attraction for parking and business activities.

Terminal Design The implementation of the two-story cross-street platform combines the land on both sides of Shenhui Road, and Longxing Avenue has been continued efficiently. The transportation hub plays an effective role.

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The integration of residential plots reveals the balance between the urban street space and the relatively private living space. The neighbourhood offers a lot of frontages, enriching the space of the cityâ&#x20AC;&#x2122;s streets and also creating noise and management challenges. The design will treat commercial plots differently than residential plots, taking into consideration the size of the neighbourhood, combin-

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ing the national conditions and representing a responsible attitude with the public.

Cross Street Platform Functional Arrangement Plan

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HONGHE RESIDENTIAL

The residential section within the Honehe Project had two design iteration. The first proposal designed responsed to the overall urban design and appreas to be a whole, while the second proposal distiguishly differentiated from the design of the adjacent commercial complex. The second design was accepted by the client and now is underconstrution.

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CLIENT NEPSTAR DRUGSTORE PTY LTD DESIGN WITH AECOM CHINA PROJECT 2012 HIGH-RISE OFFICE BUILDING,

ADDRESS NANSHAN DISTRICT SHENZHEN, CHINA

AREA 22839.27 m²

1st Proposal

This proposal for the Honghe Residential Building is merging the modern glazed urban high rise building with the nature environment on the earth, by the extention of its roof garden to the ground. The descending ramp follows the form of the podium, which enables the “hard” architecture to have a “soft” landscape form.

1. Perspective of Podium 2. Perspective 3. Aerial view 4. Master Plan

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PROJECT TYPE : RESIDENTIAL

SHENZHEN

2nd Proposal

1. Closeup of Facade 2. Perspective of Residential Group 3. Perspective 1

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4. Plan

2 1. Perspective of Residential Garden 2. Perspective from North 3. Perspective from South 4. Construction Site Image

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For meeting the demand of new development of the Shanghai Airport, Shanghai Government commence a competition for a new terminal.

SHANGHAI INTERNATIONAL AIRPORT T2

We proposed a design concept of Kite. Kites were invented approximately 2,800 years ago in China, which establishes strong link between tradition, style and aircrafts. In several countries one word is used for kite and dragon, which is also another support to Chinese tradition and “image”, sent to the world. In matter of concept, Kite is first “flying device” that presents human need and tendency to fly, and thus for, it has wide spectrum of development and its application to form and function.

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RENOVATION OF HONGQIAO AIRPORT T2

DESIGN WITH AECOM CHINA PROJECT 2012

ADDRESS SHANGHAI, CHINA

AREA 98010 mÂ²

1. Display Room Perspective 2. Entrance Perspective 3. Display Room Perspective

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PROJECT TYPE : PUBLIC INFRUSTRACTURE

SHANGHAI, CHINA

1 1. Canopy Iterations 2. Aerial View

1. 2. 3.

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FACADE CONCEPT

The earliest known Chinese fans are a pair of woven bamboo side-mounted fans from the 2nd century BC. The Chinese character for “fan” (扇) is etymologically derived from a picture of feathers under a roof. This is just one way to express the structure of a Fan into architecture. Its distinguishing structure and style has been applied already in many ways in contemporary architecture.

1. Entrance Perspective Closeup 2. Apron Perspective 3. Entrance Perspective 4. Facade Inspiration 3

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OFFICE DESIGN

Guangdong Tourism Administration acquires a renovation for their Sydney office. First part is redesigning the communication office for promoting tourism in Guangdong, and the second is to reduce the kitchen to a much smaller pantry.The total area is 90 sqm, including a display area of 62.7 sqm, and an enclosed office of 27.3 sqm.

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CLIENT AUGA TRAVEL SERVICES PTY LTD

PROJECT PROPOSED OFFICE FITOUT FOR GUANGDONG/ GUANGZHOU TOURISM ADMINISTRATION SYDNEY BRANCH OFFICE

ADDRESS SUITE 57&58, LEVEL 15 99 BATHURST STREET SYDNEY NSW 2000

AREA APROX. 82SmÂ² 2

1. Display Room Perspective 2. Entrance Perspective 3. Display Room Perspective

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To present the Guangdong vernacular cultural more concisely, fine white pine timber in crude colour and 10mm thick light grey brick tiles decorate the wall, of which were signature materials are commonly used in traditional Cantonese Townhouse. The lighter colour palette finishing creates a bright, crisp and clean visual effect. The division wall between the display room and the adjacent existed office is covered by wood-

en gradient pattern composited by 45mmX90mm timber that ranges from lean to thick.

PROJECT TYPE : COMMERCIAL

SYDNEY, AUSTRALIA

The reception area consisted of a translucent glass wall framed with dark walnut timber which used to frame traditional Cantonese painting a renewed reception desk covered by 45mmX45mm timber and installed with a LED lights.

In the display section, two “rocks” are placed in the centre which also contribute to the circulation. The higher rock is for exhibition display, and the lower one is a bench. Reflecting how Cantonese artwork is display in the people’s home, a couple of sizeable thin walnut wooden framed picture attached on to the tile wall with steel wire fasting.

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A clean wall embedded with the companies LOGO disrupted the visual of the interior from the corridor. While the bottom half of the division timber screen enables the reception aware of the movement on the other side of the wall.

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SKETCHES & PAINTINGS

2 1. Illustration for Landscape Design Project 2. Architecture Handsketch 3. Gym Design Handsketch

Digital Colour Pencil Colour Pencil

MARKER ARCRYLIC OIL PAINT PENCIL TABLET CHARCOAL WRITING BRUSH COLOUR-PENCIL

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PROJECT TYPE : ILLUSTRATION /PAINTING

MULTI

GISBORNE CHOIR - hard copies collected by Gisbourne Choir and auctioned for charity Last year Christmas I was at the Gisborne Church of the Christ for the concert Messiah by Handel. The interweaving light beam crossing through the church blurred the physical form of the actual objects. The music composed 276 years ago brought me an idea of a virtual world that the space I was staring at was consisted of broken colour blocks with bright and brilliant colour, the paints floats with melody and the fragments set the occasion as a feeling into my memory. I devoted this painting specially to my flute teacher Margaret Crawford and her husband Stephen Brockman who conduct the concert.

1. Fruits

Oil on canvas

2. Gisborne Choir 3. Organpipe

Park

4. Local Landscape

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Digital Painting on screen Oil

canvas

Oil on canvas

2 1. Concept for Installation

Sketch

2. Darling Harbour

Sketch

3. Opera House

Sketch

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This project of galleries is based on particular artists’ work. Through study of the artists and their artwork, and face to face interview, students curate an exhibition for selected artworks, and design display space that / gallery that associated with a museum by selection. Daniel Aeshan’ s Arm’s Out and Hooded were chosen for curation for the first gallery design, within the spacial setting of Hyogo Prefectural Museum of Art.

GIFT TO THE CITY

The second exhibition space collaborates with the atrium of Guggenheim Museum is tailored for Emily Floyd’s alphabets’ installation project. In addition to the architectural design for arts, a further interpretation through understanding of a “world” phenomenon was carried out by a series of painting “Between-ness”.

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MSD SCHOOL PROJECT UNIVERSITY OF MELBOURNE

GALLERY ONE ART EXHIBITION CURATION AND GALLERY DESIGN FOR EXISTED MUSEUM

ADDRESS 1 Chome-1-1 Wakinohamakaigandori, Chuo, Kobe, Hyōgo Prefecture 651-0073, Japan

AREA 92.59m²

1. Theoretical Diagram 2. Presentation Book Cover Design 3. Theoretical Diagram

Exploring iteration of display in art exhibition through inspiration from the artwork.

represents art objects is placed in a volumetric filled space, a mass.

Two wall sculptures, Figure 1(“Arms Out”) & 2(“Hooded”) created by Daniel Arsham, represents a pair of wrapping in inverted ways. Referring to the spacial configuration in an art gallery, Figure 3 is the conventional one which art objects are installed in a white empty space, while Figure 4

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PROJECT TYPE : CURATION/ MUSEUM

JAPAN/ USA

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1.The

artwork to be curated is Daniel Arsham’s sculpture Hooded. A 2. tough/distorted journey to admire 3. a saint - the artwork; the harder the journey is, the more appreciation for the final achievement will be, is the narrative setting for the audience. By inserting a lean semi-enclosed space of hanging spaghetti (in reference to the artist’s methodology of “reinvention of everyday object”) through the existed building of Hyogo Prefectural Museum of Art, the original space was rearranged by the interruption.

1. Curating Narrative Illustration 2. Installation Conceptual Diagram 3. Presentation Conceptual Diagram 4. Sectional Diagram: Hyogo Prefectural Museum of Art 5. Narrative Ideagram

Density of hanging spaghetti is various according to the terrain elevation. Higher the elevation, less density, vice versa. Furthurmore, sense of space altered with interraction with the tread curtain. 5

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GALLERY TWO ART EXHIBITION CURATION AND GALLERY DESIGN FOR SOLOMON R. GUGGENHEIM MUSEUM

ADDRESS 1071 5th Ave, New York, NY 10128, USAJ

As Emily Floyd questioned the utilization of contemporary gallery space. The definition of an art object and the gallery can also be argued. Is the gallery necessary the context to house the artwork. By playing around the iterations of the scale of art objects, and constructing a gallery by the art object itself, the solution is to invert the concept of that the art object is housed in the gallery. The artwork itself becomes an architecture. The structure can be placed into any context, so art is not high art that we are distant from, but a commodity that we can play around with. While the upper structure has certain mobility while the lower box is filled with soft toys which scaled

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down from the art objects. By experiencing the space, touching, hugging, throwing, the audience explores the relationship between the body and the built environment.

1. Conceptual Diagram 2. Sectional Conceptual Diagram 3. Presentation Conceptual Diagram 4. Installation Diagram: in Guggenheim 5. Narrative Ideagram 6. Conceptual Model

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The complex structure creates a shortcut within the existed Guggenheim Museum atrium. The composition reflects the first collection in the museum, drawings by Kandinsky. The linkages between different floors add more levels of accessibility to space. By wandering in the different area in the gallery. The exaggerated perspective brought the audience to the image of narratives. Alphabet and image, which are the essential elements to communicate. and mentally construct the museum. While the museum is a shortcut to the information around the world and through time. The narrative map below tells stories by individual scenes, the perspectives in the stories reflect the ones inside the museum.

THE “BETWEEN-NESS”

This series of paintings of threshold moments de pict how human open their sphere of perception, which are created, together with the spatial bodies, by the architectural space. Each of the paintings takes two museum/ galleries which have a contrast in the atmosphere of a passage space that functions as separation, transition, and incorporation. The threshold space is defined according to Jurgen joedick’s idea of “between-ness” The threshold is an experienced space and sensitive spot where we change from zone to zone. Human traverse through the delimiters and re-experience the intensive feeling that has come from the sequence of movements. This project was inspired by an interview with Elvira Ose. The discussion was based on the subject of the public intellectuals remake history. Another concern is if the reconstruction of the past can ever challenge current historiography and its methods of inclusion and omission. In the modern movement in Architecture, the concept of open space has been introduced. Le Corbusier states that archi tecture can be judged as dead or living by the degree to which the role of movement has been disregarded or brilliantly exploited.

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MSD SCHOOL PROJECT UNIVERSITY OF MELBOURNE

ARCHITECTURE INSPIRED ARCRYLIC PAINTING

CANVAS SIZE : 406 x 508 (EACH)

KNITTING MUSEE DU QUAI BRANLY VS MUSEUM ANGEWANDTE KUNST arcrylic and ink on canvas, June 2016

MUSEE DU QUAI BRANLY The landscapes in both museums knitted the site with the existed built environments. Musee du Ouai Branly has been smoothly woven on the elevation as well as on the plan. The architecture binds the site together with the context. Three profiles at the Museum Angewandte Kunst and its garden which as transition points of a linkage between

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MUSEUM ANGEWANDTE KUNST

the new city and old city The fluid color on the lower part of the painting depict a complexity of an intersection, the contrasting colour as a hint of trans formation of light on the surface of an architecture. Each defined colour can be read as a functional area, so the gesture of crossing suggests an engagement of functional space. The upper part of the

PROJECT TYPE : ARTWORK

image is created by the “threads” pulled out from the lower “fabric”, and they interlacing each other and met at the red points in the space of depth, of which suggests a hierarchical spatial relationship.

NEUE NATIONAL AGALERIE VS CENTRE POMPI足DOU The Pompidou Art Center was designed with multiple entranc足es to become a free art machine, while the Berlin National Gallery has only one point of entrance into the building with two rotating doors

CENTRALIZATION NEUE NATIONAL AGALERIE VS CENTRE POMPI足DOU arcrylic and ink on canvas, June 2016

This painting suggests a space of multiple levels of connections. The length of each passage indicates the pace of traversing.

ART GALLERY OF NEW SOUTHWALES VS MAXXI ROME

There is also a hint of the transformation of the solid object that melted into the surrounding environment, which creates soft edg足es blended into the environment.

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RHYTHM SAYAMAIKE HISTORICAL MUSEUM VS NEZU MUSEUM arcrylic on canvas, June 2016

Both of the galleries has a series of columns in its main entrance While the set Ionic Order at the entrance of the NSW gallery diffuses the light entering the interior, the sets of slim columns at the entrance of the MAXXI Museum function as structural support and space distributers that separate streams of the audience.

MORI ART MUSEUM VS SAO PAULO MUSEUM OF ART

The audiences will make decisions on how to pass through the spaces according to their perception of each threshold.

arcrylic and ink on canvas, June 2016

The painting “Zone Transfer” illustrated pictures of picture of framed spaces layered side by side on the same plane. It suggests that thresholds are hollows of different atmospheres where audience transport from one zone to another. Before traversing through, the character of the space on the other-side is influenced by the shape and the depth of the thresholds.

ZONE TRANSFER MORI ART MUSEUM VS SAO PAULO MUSEUM OF ART

Both of the museums have a single entrance into the building from a huge block of threshold space. However, the Museum of Art San Paulo is entering the interior from the space in shadow while the other one enters the gallery from an artificial lighted commercial space.

SAYAMAIKE HISTORICAL MUSEUM VS NEZU MUSEUM

The intensity of paint changes in the color blocks suggests how the reflection is impacted by the nature environment. The composition settles a contrast of pace between busy-ness and the quietness, these two different feelings exchanges and enter each other by stepping into the zones from another. Colour associated with sound, and with light, of which space is made of.

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RHYTHM SAYAMAIKE HISTORICAL MUSEUM VS NEZU MUSEUM arcrylic on canvas, June 2016

Noise created by the waterfalls in the Sayamaike Historical Museum, a very long passage embraces an artificial water landscape. The waterfall sings with intervals, the water curtain opens and close the passage with the hint of sound. In the NEZU Museum, a quite long corridor which slightly affected by the outer environment in a place of semi-enclosure by a bamboo screen.

This work creates a sensation of colour contrast in a cool tone that refers to the nature day light. The colour and the texture of the finishings composite a vivid atmosphere in the space.

Audiences traverse through a series of different threshold moment to the MIHO Museum located in the outside world, an unhasty approaching experience is brought to the audience by walking up to the mountaintop Dynamic changes on the different stage of traversing, from a road to a tunnel, then a bridge, followed by a platform, and then a long stair. Louis Vuitton Foundation is located in a greenery area as well, however, the road to approach the building is the traffic rods along with pedestrian on a almost flat ground. By reading this work, a feeling of a different level of spatial interferes occurs. The spaces intersect, overlayed, blended and layered side by side. The layering of colours also suggests a hierarchy of architectural space in an order of the character of each.

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DYNAMIC MIHO MUSEUM VS LOUIS VUITTON FOUNDATION arcrylic on canvas, June 2016

MIHO MUSEUM VS LOUIS VUITTON FOUNDATION

arcrylic and ink on canvas, June 2016

In the front of the Fondation Catier, there is a set of layered-screen that isolate from the main building. The overlayed composition of the glass screens creates a complex reflection. On the contrary, Richard Meier designed a set solid white concrete panel at the entrance that incorporates with the interior space.

LAYERING FONDATION CATIER VS BARCELONA MUSEUM OF CONTEMPORARY ART

FONDATION CATIER VS BARCELONA MUSEUM OF CONTEMPORARY ART